DEDICATION  RICHAPD  J.  REYNOLDS  MEMORIAL 

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THE  LIBRARY  OF  THE 
UNIVERSITY  OF 
NORTH  CAROLINA 


THE  COLLECTION  OF 
NORTH  CAROLINIANA 
FROM  THE  LIBRARY  OF 

Mary  G.  Wiley 

Gp780.6 

W78 

192U 


Library  building. 


UNIVERSITY  OF  N.C.  AT  CHAPEL  HILL 


053672505 


DEDICATION 


iMmnnal 

Aubttnrium 

and 

MUSIC  FESTIVAL 


May  8,  9,  10,  11,  1924 


I 


Digitized  by  the  Internet  Archive 
in  2020  with  funding  from 
University  of  North  Carolina  at  Chapel  Hill 


https://archive.org/details/souvenirprogramdOOwins 


Souvenir  Program 


DEDICATION 

iH^mnnal 

A«&ttnnitm 

and 

MUSIC  FESTIVAL 


Winston-Salem,  North  Carolina 
May  8,  9, 10, 11, 1924 


RICHARD  JOSHUA  REYNOLDS 


BORN  JULY  28th,  1850 
DIED  JULY  29th,  1918 

ORIGINAL  IN  THOUGHT:  NATURAL  IN  ACT: 
JUSTICE  TO  ALL  MEN  HIS  GUIDE: 
ENERGY  IN  BOUNDLESS  MEASURE,  MADE 
UP  THIS  WORKMAN  OF  THE  WORLD. 


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1 


Statement  of  the  Gift 


In  1919,  the  City  of  Winston-Salem,  in  the  course  of  its  ex¬ 
tended  school  building  program,  planned  a  model  high  school,  and 
wished  to  honor  the  memory  of  Richard  J.  Reynolds,  by  naming 
it  “The  Richard  J.  Reynolds  High  School.”  It  seemed  to  his  wife, 
now  Mrs.  J.  Edward  Johnston,  that  a  memorial  of  this  kind  was 
very  fitting,  as  Mr.  Reynolds  had  had  such  a  large  part  and  was  so 
interested  in  the  development  of  this  city.  Mrs.  Johnston  had 
wanted  to  erect  some  really  worth  while  memorial  personally,  and 
when  notified  of  the  action  of  the  city  authorities,  it  seemed  that 
this  plant,  which  would  be  so  closely  identified  with  the  life  of  the 
people,  young  and  old,  presented  the  opportunity  for  which  she  was 
looking.  She  therefore  notified  the  city  that  she  would  be  glad  to 
give  a  suitable  site  upon  which  to  erect  the  high  school,  the  selection 
to  be  left  to  the  City,  and  to  present  as  a  personal  memorial,  a 
beautiful  auditorium  in  connection  with  the  high  school  plant. 

The  city  selected  a  beautiful  knoll,  overlooking  a  large  park 
and  playground,  and  on  this  site  erected  the  first  unit  of  the  Richard 
J.  Reynolds  High  School,  a  building  of  which  we  have  every  reason 
to  be  proud.  The  auditorium,  which  is  next  to  the  present  high 
school  building,  is  now  completed,  the  dedication  of  which  is  the 
occasion  of  this  program.  When  future  plans  are  consummated,  this 
auditorium  will  be  the  central  building  of  the  High  School  group; 
another  unit  to  house  the  industrial  and  household  arts  having  been 
planned  to  correspond  with  the  one  already  completed  and  in  opera¬ 
tion. 

As  stated  in  the  memorial  tablet,  this  auditorium  is  to  be  de¬ 
voted  to  the  cultivation  of  the  arts  and  sciences,  and  to  the  educa¬ 
tion  of  the  people,  in  affectionate  recognition  of  the  life  and  services 
of  him  in  whose  honor  and  memory  it  is  dedicated. 


R.  J.  REYNOLDS  MEMORIAL  AUDITORIUM 


The  Richard  J.  Reynolds  Memorial  Auditorium  is  a  monument  to  the 
memory  of  a  great  and  good  man.  In  its  conception,  the  dominant  idea  has.  been 
to  give  to  the  community  a  building  that  will  serve  all  of  the  people  in  their 
aspiration  for  higher  things. 

As  Mr.  Reynolds  served  his  community  as  a  builder  and  dedicated  his 
life  to  its  advancement,  so  it  is  hoped  that  this  beautiful  structure  may  serve 
as  an  inspiration  and  help  to  our  city  and  state. 

In  this  auditorium,  Winston-Salem,  the  State  of  North  Carolina,  and  our 
Southland,  have  something  of  which  they  may  well  be  proud.  A  description 
that  will  convey  the  spirit  and  sublime  dignity  of  the  memorial,  is  well  nigh 
impossible.  It  is  necessary  to  see  it  as  a  whole  to  get  an  adequate  idea  of  its 
beauty  and  possibilities.  This  article  therefore  will  be  more  in  the  nature 
of  a  listing  of  the  physical  proportions. 

EXTERIOR 

Situated  on  a  beautiful  and  high  knoll,  standing  out  with  vivid  clearness, 
its  classical  architecture  of  the  Southern  Georgian  or  Colonial  style,  may  be 
seen  from  many  points  of  the  city. 

The  main  entrance  is  a  masterpiece  in  architecture,  of  the  Roman  Corin¬ 
thian  order,  studied  as  to  proportion  after  the  Pantheon  in  Rome.  Six  large 
Indiana  limestone  columns,  forty-two  inches  in  diameter  and  thirty-nine  feet 
high,  surmounted  by  beautifully  carved  Corinthian  caps,  support  the  roof  of 
the  portico.  The  exterior  is  of  Colonial  brick,  with  Indiana  limestone  cornices 
and  other  trimmings,  covering  an  area  of  110  by  172  feet.  From  the  ground 
to  the  top  of  the  main  walls  is  50  feet,  and  to  the  walls  of  the  stage  loft  is 
70  feet. 

INTERIOR 

From  the  front  portico,  one  enters  a  spacious  lobby,  30  by  60  feet,  with 
panel  walls  finished  in  antique  green  tone,  and  paved  with  Tennessee  marble 
and  green  slate  tile,  in  checker-board  design.  On  one  side  of  the  central  audi¬ 
torium  entrance  door,  is  a  painting  of  Richard  J.  Reynolds,  and  on  the  other 
a  bronze  memorial  tablet. 

From  each  end  of  the  lobby,  handsome  broad  stairways  with  ornamental 
metal  iron  railings,  lead  to  a  large  and  beautifully  appointed  lounge;  this 
room  being  decorated  in  a  lovely  soft  tone  of  yellow,  is  handsomely  furnished 
and  draped,  with  rich  hangings.  It  at  once  impresses  one  with  its  splendid 
possibilities  as  the  social  centre  of  the  building.  From  here  are  the  entrances 
to  the  balcony. 

By  the  main  stairways,  in  the  forward  wings  of  the  building,  are  located 
the  retiring  and  smoking  rooms  and  lavatories,  there  being  three  tiers  of  these 
rooms,  one  group  for  the  ground  floor,  and  one  for  each  balcony  level.  These 
rooms  also  are  handsomely  furnished,  and  completely  equipped  with  beautiful 
hangings. 

In  entering  the  main  auditorium  from  the  lobby,  one  comes  to  a  foyer  or 
promenade  12  feet  wide,  across  the  entire  width  of  the  building,  and  down 
each  side  affording  a  promenade  230  feet  long,  completely  around  three  sides 
of  the  lower  floor  seating.  This  is  divided  from  the  main  auditorium  by 
fluted  Roman  Doric  pilasters  and  railings,  affording  standing  room  in  the  rear 
and  large  additional  seating  capacity  on  the  sides  when  needed. 


Page  six 


The  main  auditorium  on  the  ground  floor  is  76  feet  wide  and  70  feet 
deep,  and  is  equipped  with  1030  comfortable  chairs,  handsomely  upholstered 
in  leather.  The  height  from  the  main  floor  to  the  top  of  the  arched  ceiling, 
is  50  feet. 

A  balcony  extends  the  full  width  of  the  building,  which  is  102  feet,  inside 
the  walls,  and  is  75  feet  deep.  Connected  with  this  main  balcony  are  small 
balconies,  on  each  side,  over  the  promenade.  The  seating  capacity  of  the 
balcony  is  1087,  the  equipment  being  identically  the  same  as  that  of  the  first 
floor.  This  gives  a  total  seating  capacity  of  2117  installed  chairs.  This,  of 
course,  does  not  count  the  emergency  seating  mentioned  above.  It  is  a  matter 
of  interest  and  satisfaction  that  the  sight  lines  are  so  arranged,  and  the 
acoustics  so  carefully  guarded,  that  from  even  the  furthermost  corner  of  the 
balcony,  one  has  perfect  vision  of  the  stage  and  is  able  to  hear  with  ease. 

One  standing  in  the  main  auditorium  is  deeply  impressed  with  the  sim¬ 
plicity  and  beauty  of  the  architecture  and  decorations.  While  this  is  a  huge 
auditorium,  so  perfect  are  the  proportions  and  treatment,  that  the  size  does 
not  impress  one,  and  even  standing  on  the  stage  and  looking  out  over  the  great 
expanse,  one  feels  a  nearness  to  the  audience  which  is  trulj^  remarkable. 

The  stage  is  one  of  the  main  features  of  this  very  remarkable  structure. 
Viewed  from  the  seats,  one  looks  upon  one  of  the  most  beautiful  effects  in 
the  country  in  theatre  and  opera  house  construction.  The  proscenium  opening 
is  27  feet  high  and  39  feet  wide.  Around  this  opening  is  one  of  the  most  beau¬ 
tiful  examples  of  decorator’s  art  to  be  found  in  the  world.  The  border  and 
treatment  are  a  perfect  example  of  true  Renaissance.  On  each  side  of  the 
opening  are  large  grilles,  in  the  handsome  wood  trim  which  is  used  thruout 
the  building.  The  stage  proper  is  36  feet  deep  and  67  feet  wide.  From  the 
stage  floor  to  the  grid  iron  frame  is  67  feet  and  73  feet  to  the  roof  over 
the  stage. 

A  wonderful  equipment  in  stage  scenery  for  almost  any  occasion  is  in¬ 
cluded  with  the  building,  and  the  arrangements  are  so  complete  for  handling 
stage  equipment,  that  the  most  elaborate  staged  opera  with  the  necessary  special 
scenery,  could  be  given  with  ease.  Careful  attention  has  also  been  given 
the  electrical  equipment,  this  being  so  complete  that  any  effect  desirable  can 
be  produced  with  the  comprehensive  control  system  installed. 

CONSTRUCTION 

A  brief  description  of  the  construction  may  be  of  interest.  This  structure 
is  of  standard  fire-proof  construction  thruout.  The  floors,  including  the  bal¬ 
cony  construction,  are  of  re-inforced  concrete.  The  walls  and  roof  trusses 
are  supported  on  steel  columns  and  massive  iron  girders.  The  balcony  is  what 
is  known  as  cantilever  construction;  that  is,  supported  without  the  aid  of 
exposed  columns  by  means  of  a  fulchrum  girder  nine  feet  high  and  74  feet  span. 
This  one  girder  weighs  28  tons  and  is  built  of  massive  steel  plates  and  angles. 
Practically  the  entire  weight  of  the  balcony  and  its  human  load  is  carried  on 
this  massive  girder. 

In  designing  the  building  and  its  equipment  to  meet  the  exacting  require¬ 
ments  of  modern  theatre  construction,  which  will  compare  favorably  with  the 
most  modern  buildings  in  the  country,  great  study  and  care  has  been  exercised 
by  the  architect,  Mr.  Charles  Barton  Keen,  of  Philadelphia,  Pa.  As  stated 
above,  special  attention  has  been  given  to  the  sight  lines,  in  order  to  offer  a 
good  view  of  the  stage  from  every  seat  in  the  house.  The  acoustical  properties 
being  the  most  important  element  in  a  great  auditorium  of  this  nature,  have 


Page  seven 


claimed  careful  attention  on  the  part  of  the  designers.  It  is  fundamental  that 
one  can  hear  perfectly  from  every  seat,  and  to  accomplish  this,  over  6,000 
feet  of  acoustical  felt  has  been  used  in  the  panels  of  the  main  and  balcony 
ceilings  and  in  the  walls. 

The  comfort  of  the  patrons  is  also  of  material  moment,  in  such  a  struc¬ 
ture,  and  not  only  is  this  provided  in  the  luxurious  seats  and  retiring  rooms, 
but  both  comfort  and  health  are  taken  care  of  in  the  heating  and  ventilation. 
Fresh  air  is  taken  in  thru  a  large  fresh  air  shaft  six  feet  wide  by  nine  feet  in 
cross  section,  and  passes  thru  heating  coils;  thence  it  is  forced  thru  an  air 
washer  with  a  myriad  of  jets  of  water,  purifying  and  humidifying  the  air,  and 
then  thru  a  second  set  of  heating  coils.  This  forced  draft  is  accomplished  by 
a  great  fan,  delivering  many  hundreds  of  thousands  of  cubic  feet  of  air  per 
minute  to  a  large  chamber  under  the  entire  ground  floor  of  the  auditorium. 
From  this  chamber  it  passes  to  the  auditorium  thru  small  “mushroom”  venti¬ 
lators  under  practically  each  seat  on  the  main  floor;  thus  furnishing  an  even 
distribution  of  heat  and  ventilation  to  each  occupant.  The  air  is  drawn  out 
thru  large  ventilating  grilles  in  the  rear  of  the  balcony  and  expelled  above 
the  roof,  its  place  being  taken  by  a  constant  supply  of  fresh,  pure  air. 

The  comfort  of  the  patrons  would  not  be  complete  unless  their  safety 
was  safeguarded  with  ample  exits  in  case  of  emergency.  In  order  to  provide 
absolute  safety,  and  ability  to  empty  the  building  in  the  shortest  time  after  an 
entertainment,  or  in  case  of  emergency,  there  are  nine  separate  exits  on  the 
ground  floor  and  four  on  the  balcony.  The  arrangements  are  such  that  exit 
capacity  has  far  exceeded  the  legal  requirements  and  the  building  can  be 
emptied  in  an  amazingly  short  space  of  time. 

The  electrical  equipment  is  worthy  of  a  short  description.  The  stage 
switch  board  is  designed  with  the  latest  improvements  in  modern  theatre  equip¬ 
ment,  with  dimmer  for  foot,  border,  proscenium  lights,  and  all  lights  thruout 
the  theater;  also  with  a  full  equipment  of  spot  lights  and  other  stage  illumi¬ 
nation.  There  is  a  projection  booth  in  the  rear  of  the  balcony,  completely 
equipped  with  two  moving  picture  machines  of  the  latest  design  and  improve¬ 
ments,  together  with  a  motor  generator  set  to  furnish  direct  current.  A  re-wind 
room  is  also  included  in  the  projection  booth,  and  has  been  built  to  conform  to 
the  latest  fire-proof  standards. 

The  decorations  and  hangings  are  by  the  Joseph  Wickes  Studios  of  New 
York,  who  also  furnished  the  stage  curtain,  and  the  scenery,  including  the 
asbestos  curtain,  is  by  the  New  York  Studios. 

Structurally,  provision  has  been  made  for  the  installation  of  a  large  organ, 
suitable  to  such  an  auditorium,  at  a  later  date. 

MUSIC  AND  CHORAL  WING 

To  provide  for  the  outstanding  program  of  musical  instruction,  being 
carried  on  in  the  city  schools,  a  one-story  wing  has  been  erected  by  the  City 
of  Winston-Salem,  on  one  side  of  the  Auditorium,  in  which  are  located  a 
band  and  orchestra  room  37  feet  wide  and  43  feet  long,  with  a  ceiling  pitch 
of  18  feet.  There  is  also  a  music  class  and  choral  room,  22  feet  by  37  feet, 
two  music  practice  rooms,  and  a  director’s  room.  Special  care  has  been  used 
to  sound-proof  these  rooms,  using  double  partitions  with  hair  felt  insulation 
between,  sound  proof  doors  and  acoustical  felt. 


Von  Suppe 


Presentation  : 
Acceptance 
Dedication  : 


Thursday  evening,  May  8,  1924 

Mr.  George  W.  Orr,  Presiding 

Overture  :  “Lovely  Galathea” 

Winston-Salem  Civic  Orchestra 
Mr.  C.  D.  Kutschinski,  Conductor 

America:  -  --  -- . 

Chorus,  Audience  and  Orchestra 

Invoc.a.tion  :  -  -  -  -  Rt.  Rev.  Edward  Rondthaler,  LL.  D. 

Chorus:  “May,  the  Maiden” — (Ballet  Music  from  Faust  in  choral  form) 

Arranged  by  Harvey  Worthington  Loomis  Gounod 

Winston-Salem  Festival  Chorus 
Mr.  William  Breach,  Conductor 

Mr.  W.  M.  Hendren 

Mr.  Lewis  F.  Owen,  Mayor  pro  tern. 

Rev.  D.  Clay  Lilly,  D.  D. 

InMemoriam:  “Goin’ Home”  -------  Dvorak 

(From  the  Largo  of  the  symphony  “From  the  New  World.” 

Words  and  adaption  by  William  Arms  Fisher) 

Festival  Chorus 

“Goin’  home,  goin’  home,  I’m  a  goin’  home; 

Quiet-like,  some  still  day,  I’m  jes’  goin’  home. 

It’s  not  far,  jes  close  by,  through  an  open  door, 

Work  all  done,  care  laid  by,  gwine  to  fear  no  more. 

Mother’s  there  ’spectin’  me.  Father’s  waitin’  too; 

Lots  of  folk  gathered,  all  the  friends  I  knew. 

Home,  home,  I’m  goin’  home ! 

Nothin’  lost,  all  gain,  no  more  fret  nor  pain. 

No  more  stumblin’  on  the  way,  no  more  longin’  for  the  day, 

Gwine  to  roam  no  more! 

Mornin’  star  lights  the  way,  res’less  dream  all  done; 

Shadows  gone,  break  o’  day,  real  life  jes’  begun. 

Dere’s  no  break,  ain’t  no  end,  Jes’  a-livin’  on; 

Wide  a-wake,  with  a  smile  goin’  on  and  on. 

Goin’  home,  goin’  home,  I’m  jes’  goin’  home. 

It’s  not  far,  jes’  close  by  through  an  open  door. 

I’m  a-goin’  home.  Home!  Home! 

Address:  -  -  Hon.  Cameron  Morrison,  Governor  of  North  Carolina 

“Hallelujah  Chorus”:  from  “The  Messiah”  -  -  -  Handel 


from  “The  Messiah” 
Festival  Chorus 


Benediction  : 


Rev.  H.  A.  Brown,  D.  D. 


Page  nine 


t 


Music  Festival 


FIRST  (Children’s)  CONCERT 

Friday  evenings  May  9,  8:15 

Children’s  chorus  of  600  voices  from  the  Winston-Salem  Public  Schools 

William  Breach,  Director 
Estelle  Broberg  Breach,  at  the  Piano 
Winston-Salem  Civic  Orchestra,  C.  D.  Kutschinski,  Conductor 
Soloist — Shura  Cherkassky,  Pianist 

Program 

Overture:  “Light  Cavalry”  -----  -  y on  Suppe 

“Land  Sighting”:  (Olaf  Trygvason)  -----  Grieg 

Children’s  Chorus 
Mr.  E.  R.  Clapp,  Soloist 

Part  Songs:  “Andalusia”  -------  Spanish 

“Oh !  That  We  Two  Were  Maying”  -  .  .  Nevin 

“Mighty  Lak  a  Rose”  -----  Nevin 

“Barcarolle”  (from  the  Tales  of  Hoffman)  -  Offenbach 
Children’s  Chorus 

Part  Songs:  “Land  of  Hope  and  Glory” . Elgar 

Mr.  Clapp,  Soloist 

“Are  You  for  Me  or  Against  Me?”  (Flag  Song)  -  Foster 
“Ole  Car’lina”  -------  Cooke 

“Hail!  Bright  Abode”  (from  “Tannhauser”)  -  Wagner 
Children’s  Chorus 


INTERMISSION 

Recital: — Shura  Cherkassky,  Pianist 

. -  The  Harmonious  Blacksmith 

Pastorale 

Capriccio 

-  -  -  -  Rondo  Capriccioso 

Etude  in  G  flat  major.  Op.  10,  No.  5 
Etude  in  G  flat  major.  Op.  25,  No.  9 
Nocturne  in  E  flat  major.  Op.  9,  No.  2 

. Prelude  in  G  Minor 

“Rigoletto”  Paraphrase 

Steinway  Piano  Used. 


G.  F.  Handel 
Scarlatti-Tausig 
F.  Mendelssohn 

F.  Chopin 

S.  Rachmaninoff 
V  erdi-Fiszt 


L 


Second  Concert 

POPULAR 

ORCHESTRAL  PROGRAM 

Saturday  afternoon,  May  10,  3:30 

Philadelphia  Festival  Orchestra 

50  Players 

Dr.  Thaddeus  Rich,  Conductor 


Glinka  ------  Overture  “Rouslane  et  Ludmila” 

Schubert  -  -  -  - . Moment  Musical 

Boccherini  -  --  --  --  --  --  Minuet 

Wagner  -------  Overture,  “Die  Meistersinger” 


INTERMISSION 


Tschaikou'sky  ------  Waltz  of  the  Flowers  from 

“The  Nutcracker  Suite” 

Wagner  -  -  -  -  Ride  of  the  Valkyries  from  “Die  Walkuere” 

Sibelius  -  --  --  --  -  Tone  Poem,  “Finlandia” 


Wagner  -  -  -  -  Ride  of  the  Valkyries  from  “Die  Walkuere” 

Sibelius  -  --  --  --  -  Tone  Poem,  “Finlandia” 


Page  el  evert 


Third  Concert 


ARTISTS’  NIGHT 

Saturday  evening,  May  10,  8:15 

Philadelphia  Festival  Orchestra 
Dr.  Thaddeus  Rich,  Conductor 

Winston-Salem  Festival  Chorus 
William  Breach,  Conductor 

SOLOIST 

Mme.  Florence  Easton,  Soprano 

Overture:  “Roman  Carnival” . Berlioz 

Orchestra 

“Prayer”:  from  Cavalleria  Rusticana  -  -  _  _  Mascagni 

Mme.  Florence  Easton  and  the  Festival  Chorus 

Scherzo:  from  “A  Midsummer  Night’s  Dream”  -  -  Mendelssohn 

Orchestra 

Songs:  (with  orchestra) 

(a)  Deh  vieni  non  tardar 

from  “The  Marriage  of  Figaro”  -  -  Mozart 

(b)  Who  is  Sylvia? . -  Schubert 

(c)  Lenz  -  Hildach 

Mme.  Easton 

INTERMISSION 

“A  Song  of  Victory” . .  .  Pe^cy  Fletcher 

Festival  Chorus 

Waltz:  “Blue  Danube”  -  -  ...  Johann  Strauss 

Orchestra 

Aria:  “Ocean,  Thou  Mighty  Monster”  (from  “Oberon”)  -  -  PFeber 

Mme.  Easton 

Dance:  from  “Snegourotchka”  -  -  .  .  Rimsky-Korsakow 

Orchestra 


Page  twelve 


Community  Service 

Chorale  : 

Sunday  afternoon,  May  11,  3:30 

Sleepers  Wake  For  Night  is  Flying. 

Anthem  : 

Glory  and  Power  and  Majesty  Be  to  God  on  High  -  -  Bordese 

Chorale  : 

Thy  Majesty,  How  Vast  It  Is! 

Anthem : 

Gloria  in  Excelsis  -------  Farmer 

Chorale: 

Ten  Thousand  Times  Ten  Thousand 

In  Sparkling  Raiment  Bright 

Anthem  : 

The  Heavens  Proclaim  Him 

In  Ceaseless  Devotion 

The  Creation’s  Voice  O’er  all  is  Heard  -  -  Beethoven 

Home  Moravian  Church  Band 

Mr.  B,  J.  Pfohl,  Director 

Doxology : 

Invocation  :  (The  Lord’s  Prayer  in  concert)  -  Rev.  R.  PI.  Daugherty,  D.  D. 
Hymn:  Come  Thou  Almighty  King 

Scripture  Reading:  -----  Rev.  D.  Clay  Lilly,  D.  D. 


Anthem  : 

Appear,  Thou  Light  Divine  -  -  -  -  Morrison 

Chorus  of  250  Boys  and  Men 

William  Breach,  Director 

Mrs.  a.  C.  Reece  and  Mr.  Jasper  Dean,  Soloists 

Responsive  Reading:  The  24th  Psalm 


Prayer : 

Anthem : 

I  Think  When  I  Read  That  Sweet  Story  of  Old  -  -  West 

Mr.  William  Breach  and  the  Chorus 

Hymn  :  My  Faith  Looks  up  to  Thee 

Sermon: . Rev.  J.  M.  Vander  Meulen,  D.  D. 

Prayer : 

Hymn:  How  Firm  a  Foundation 
Benediction  : 


r 


First  Concert 

Program  Notes 


L _ - 


Overture  :  “Light  Cavalry” 


Fon  Suppe 


The  overture  to  “Light  Cavalry”  was  written  by  Franz  Von  Suppe 
one  of  the  most  popular  of  the  German  operetta-composers.  He  was  a  pro¬ 
lific  writer  and  his  works  are  said  to  have  reached  the  astonishing  number  of 
two  grand  operas,  one  hundred  and  sixty-five  farces,  comediettas,  etc.  Among 
the  best  known  are  “Poet  and  Peasant”,  “Pique  Dame”,  “Die  Schone  Galatea”, 
and  Fatinitza”. 

Land  Sighting: . Edvard  Grieg 

(Borrr  at  Bergen,  Norway,  June  15,  1843;  died  at  Bergen  Sept.  4,  1907.) 

Olaf  Trygvason,  who  over  nine  hundred  years  ago  was  King  of  Norway, 
holds  a  prominent  place  in  the  sagas  and  myths  of  the  North.  The  outstanding 
event  in  his  career  was  his  forsaking  the  old  gods,  Thor  and  Odin,  and  accept¬ 
ing  the  Christian  religion.  This  majestic  choral  number  by  Edvard  Grieg, 
Norway’s  greatest  composer,  tells  of  the  discovery  of  Olaf’s  New  Kingdom 
and  the  establishing  of  Christianity.  Grieg  began  an  opera  “Olaf  Trygvason” 
but  Bjornson  did  not  finish  the  text  so  the  opera  was  never  completed.  One  of 
the  numbers,  a  march,  is  especially  fine  and  is  often  played  on  orchestral 
programs. 

Olaf  the  Viking  sailed  away, 

Olaf,  valiant  King  was  he, — 

Seeking  the  Kingdomi  fair  and  mighty. 

Far  o’er  the  northern  sea. 

Visions  of  towers  gleaming 

Came  at  last  to  the  King,  as  tho  he  were  dreaming. 

Olaf,  the  Viking  sought  the  shore, 

Olaf,  valiant  King  and  brave. 

Vain  seem  his  hopes  and  knightly  longings. 

Shatter’d  by  wind  and  wave, 

See,  as  the  mists  are  clearing, 

Glist’ning  sands  and  kindly  harbor  appearing. 

Olaf,  the  Viking  gazed  in  joy, 

Olaf,  the  valiant  King  and  bold. 

Rose  mighty  castles,  walls  and  towers. 

Snow  white  and  gleaming  gold. 

Filled  with  a  mighty  longing, 

Quickly  shoreward  the  weary  sailors  were  thronging. 

Olaf,  the  Viking  flowers  saw, 

Olaf,  wise  and(  valiant  King; — 

What  tho’  the  billows  wild  were  raging, 

Woodlands  were  sweet  with  spring. 

Bells  rang  a  joyous  pealing 

And  King  Olaf  spoke,  pray’rfully  kneeling. 


Program  Notes 


First  Concert 


“Here  to  found  our  kingdom  glorious 
Right  divine  is  now  victorious; 

Spirits  yearn  to  tell  the  story, 

God !  for  thee  be  ever  glory ! 

May  my  faith  be  strong  and  holy 
May  my  heart  be  pure  and  lowly, 

Help  me  Lord,  in  my  endeavor. 

Bless  this  land  and  folk  forever.” 

We  like  Olaf,  now  are  kneeling. 

Boundless  gratitude  are  feeling; 

Spirits  yearn  to  tell  the  story, 

God!  for  thee  be  ever  glory! 

May  cur  faith  be  strong  and  holy 
May  our  hearts  be  pure  and  lowly. 

Help  us.  Lord,  in  our  endeavor. 

Bless  this  land  and  folk  forever, 

Bless  us.  Lord. 

Andalusia  is  a  charming  little  Spanish  song,  arranged  by 

Herbert  Toyes 

Where  honey’d  blossoms  are  growing. 

Robbed  ev’ry  morn  by  the  bees. 

Where  balmy  breezes  are  blowing. 

Whispering  songs  to  the  trees. 

There  in  my  fancy  I’m  turning, 

There  am  I  longing  to  be. 

Land  of  my  love  and  my  yearning, 

Ever  I’m  dreaming  of  thee! 

Chorus  : 

Oh,  Andalusia!  My  Andalusia! 

Dear  land  where  fond  hearts  are  ever  true; 

Oh,  Andalusia!  My  Andalusia! 

No  sun  so  bright  as  thine,  no  sky  so  fair  so  blue! 

Slowly  the  night  is  descending. 

Faint  gleams  a  silvery  star; 

Novif  with  the  even-song  blending. 

Murmurs  a  distant  guitar. 

Softly  the  night-flow’r  encloses. 

Gone  are  the  birds  to  their  rest. 

Laden  with  perfume  of  roses. 

Blows  a  sweet  wind  from  the  west. 

Oh,  That  We  Two  Were  Maying 

Mighty  Lak  a  Rose  .  .  .  .  Ethelbert  Nevhi 

The  text  of  “Oh,  that  We  Two  Were  Maying”  was  writ¬ 
ten  by  Charles  Kingsley,  the  English  author  and  clergyman.  It 
is  taken  from  his  dramatic  poem  “The  Saints  Tragedy”,  (the 
true  story  of  Elizabeth  of  Hungary),  a  graphic  presentation  of 
medieval  piety.  His  poetry,  like  his  prose  works,  reflects  his 
eager,  strenuous,  open  and  sympathetic  character,  and  is  frank, 
simple  and  straightforward,  not  seeking  to  probe  spiritual  depths, 
but  not  without  its  own  characteristic  charm. 

The  text  of  “Mighty  Lak  a  Rose”  was  written  by  the  well 
known  American  poet  and  writer,  Frank  L.  Stanton. 


First  Concert 


Program  Notes 


A  talent  which  endeared  itself  to  the  public  by  its  lyric  grace  and  beauty 
was  that  of  Ethelbert  Nevin  (1862-1901)  born  in  Edgeworth,  Pennsylvania. 
Nevin  originally  intended  to  be  a  concert  pianist,  but  he  developed  such 
marked  ability  in  composition  that  he  gave  the  greater  part  of  his  time  to  this 
pursuit.  He  had  an  inborn  facility  and  an  unfailing  stock  of  melodic  ideas 
of  a  very  pleasing  character.  The  piano  piece  “Narcissus  ,  which  has  traveled 
over  the  wide  world,  been  played  by  street  musicians  of  half  dozen  different 
nationalities,  and  been  performed  at  the  command  of  kings,  was  conceived 
and  completed  within  a  few  hours  on  a  day’s  ramble  in  the  countryside  in  1891. 
The  idea  came  to  Nevin  so  quickly  and  in  such  complete  form  that  he  sent 
the  work  to  the  publisher  without  taking  the  precaution  to  correct  it  at  the 
piano. 

The  famous  “Rosary”  was  composed  in  1897,  when  Nevin  was  in  New 
York.  One  evening  he  opened  a  letter  from  an  old  friend  enclosing  Robert 
Cameron  Roger’s  poem.  The  first  line  had  the  words  ‘-^The  hours  I  spent  with 
thee,  dear  heart.”  These  words  aroused  the  imagination  of  the  composer ;  the 
melodic  thought  came  to  him.  The  next  day  he  handed  the  manuscript,  with 
a  note,  to  his  wife.  The  note  read ;  “Just  a  little  souvenir  to  let  you  know 
how  I  thank  le  bon  Dieu  for  giving  me  you.  The  entire  love  and  devotion  of 
Ethelbert  Nevin.” 

In  a  cottage  across  the  fields  from  the  house  of  his  childhood,  called 
“Queen  Anne’s  Lodge,”  Nevin  wrote  one  of  his  simplest  and  most  engaging 
songs,  “Mighty  Lak’  a  Rose.”  In  it  are  the  humor  and  tenderness  of  the  old 
colored  mammy  who  rocked  him  as  a  child. 

“Ethelbert  Nevin,”  it  was  said,  “wrote  like  a  man  who  had  a  chrysanthe¬ 
mum  in  his  buttonhole  and  the  fear  of  God  in  his  heart. 

Oh!  that  we  two  were  Maying 

Down  the  stream  of  the  soft  spring  breeze. 

Like  children  with  violets  playing 
In  the  shade  of  the  whispering  trees. 

Oh!  that  we  two  sat  dreaming 

On  the  sward  of  some  sheep  trimm’d  down. 

Watching  the  white  mist  steaming 
O’er  river,  and  mead  and  town. 

Oh!  that  we  two  lay  sleeping 
In  our  nest  in  the  churchyard  sod. 

With  our  limbs  at  rest  on  the  quiet  earth’s  breast 
And  our  souls  at  home  with  God. 

Sweetest  li’l’  feller  ev’rybody  knows; 

Dunno  what  to  call  him, 

But  he’s  mighty  lak’  a  rose. 

Lookin’  at  his  mammy 
Wid  eyes  so  shiny  blue, 

Mek  you  think  that  Heav’n 
Is  cornin’  dost  to  you. 

W’en  he’s  dar  a-sleepin’. 

In  his  li’l’  place, 

Think  I  see  de  angels 
Lookin’  thro  de  lace. 

W’en  de  dark  is  failin’, 

W’en  de  shadders  creep. 

Den  dey  comes  on  tip  toe 
Ter  kiss  ’im  in  his  sleep. 


Page  sixteen 


Program  Notes 


First  Concert 


Barcarolle  (“Tales  of  Hoffman”)  -  -  -  Offenbach 

Jacques  Offenbach  is  often  called  “the  father  of  modern  Opera  Buffa.” 
Though  of  German  birth,  Offenbach,  like  Meyerbeer,  is  chiefly  identified  with 
the  French  School,  for  all  his  works  were  written  for  the  Opera  Comique  of 
Paris.  His  operas  have  met  with  great  popularity  all  over  the  world,  but  of 
his  one  hundred  works  for  the  stage  none  is  more  beloved  than  “The  Tales  of 
Hoffman.”  The  ever  popular  Barcarolle  occurs  at  the  opening  of  the  third 
act.  The  scene  discloses  a  room  in  a  Venetian  palace  and  through  the  open 
windows  can  be  seen  the  canals  bathed  in  the  silvery  moonlight.  The  lovers 
sing  this  beautiful  duet  to  the  rocking  measure  used  by  the  Venetian  gondoliers 
and  known  as  the  Barcarolle. 

Silent  now  the  drowsy  bird, 

As  softly  falls  the  night. 

Gently  by  cool  breezes  stirred, 

We  drift  ’neath  pale  moonlight. 

We  hear  the  sound  of  plashing  oar, 

The  night  wind’s  tender  sigh; 

The  waving  trees  upon  the  shore, 

In  whispering  lullaby. 

Ah,  linger  yet  awhile. 

For  too  soon  comes  the  day, 

This  fleeting  hour  beguile, 

Ere  its  joys  pass  away. 

Night’s  soft  shade,  soon  will  fade. 

Ah!  linger  yet  awhile. 

Land  of  Hope  and  Glory . Edward  Elgar 

“Pomp  and  Circumstance”  is  a  march  written  by  Edward  Elgar,  Eng¬ 
land’s  foremost  composer.  It  has  all  the  brilliancy  of  a  concert  selection  and 
at  the  same  time  carries  the  exact  rhythm  of  a  military  march.  Arthur  C. 
Benson  has  written  the  poem  “Land  of  Hope  and  Glory”  to  fit  the  second  part 
of  the  march  and  it  is  one  of  the  most  beloved  patriotic  songs  of  the  British 
Kingdom.  This  march  was  composed  for  the  coronation  of  King  Edward  VH. 

Dear  Land  of  Hope,  thy  hope  is  crowned, 

God  make  thee  mightier  yet! 

On  Sov’ran  brows,  beloved,  renowned. 

Once  more  thy  crown  is  set. 

Thine  equal  laws,  by  Freedom  gained. 

Have  ruled  thee  well  and  long; 

By  Freedom  gained,  by  Truth  maintained. 

Thine  Empire  shall  be  strong. 

Land  of  Hope  and  Glory,  Mother  of  the  Free, 

How  shall  we  extol  thee,  who  are  born  of  thee? 

Wider  still  and  wider  shall  thy  bounds  be  set; 

God,  who  made  thee  mighty,  make  thee  mightier  yet. 

Thy  fame  is  ancient  as  the  days, 

As  ocean  large  and  wide; 

A  pride  that  dares,  and  heeds  not  Praise, 

A  stern  and  silent  pride; 

Not  that  false  joy  that  dreams  content 
With  what  our  sires  have  won; 

The  blood  a  hero  sire  hath  spent 
Still  nerves  a  hero  son. 


Page  seventeen 


Program  Notes 


First  Concert 


Are  You  for  Me,  or  Against  Me?  (Flag  Song)  -  Fay  Foster 

Fay  Foster,  who  was  born  in  Leavenworth,  Kansas,  began  her  musical 
work  early,  being  an  organist  at  twelve,  accompanist  for  Sherwood  Concert 
Company  at  seventeen,  and  head  of  a  music  school  in  Onarga,  Ill.,  at  nineteen. 
At  the  Sherwood  Music  School  in  Chicago  she  studied  singing  with  Mme. 
Dove-Boitte,  piano  with  Sherwood  and  theory  with  Gleason.  For  twelve 
years  she  was  in  Europe,  taking  piano  under  Reisenauer  in  Leipzig,  Menter 
and  Schwartz  in  Munich,  and  Rosenthal  in  Vienna,  singing  at  Cologne, 
Munich,  Leipzig  and  Berlin,  and  composition  under  Jadasohn.  Since  1911 
she  has  lived  in  New  York.  Her  waltz:  “Die  Woche”  won  a  prize  over 
many  competitors  in  Berlin,  and  she  holds  prizes  also  for  songs,  women’s 
choruses  and  piano  pieces. 

“Are  you  for  me,  or  against  me?”  asked  the  flag  as  it  went  by: 

“We  are  for  you!  We  are  for  you!”  said  the  people  in  reply! 

“We  will  follow  where  you  lead  us. 

We  are  ready  when  you  need  us; 

We  have  pledged  our  hearts’  devotion!”  said  the  people  in  reply, 

“Are  you  for  us,  or  against  us?”  came  the  question  of  the  stars. 

“By  the  war  clouds  dark  above  us,  by  our  old  wounds  and  our  scars, 

“We  are  for  you!  Now  and  ever! 

Bonds  of  love  no  foe  can  sever 

Hold  us  fast  and  bind  us  to  you!”  said  the  people  to  the  stars. 

“Are  you  for  us,  or  against  us?”  called  the  White  Stripes  and  the  Red; 

“By  the  great  hearts  of  our  heroes,  by  the  blood  that  they  have  shed. 

We  are  for  you!  Doubt  it  never!  ’ 

We  are  for  you  now  and  ever! 

And  our  gold  and  strength  and  service,  all  are  yours!”  the  people  said, 

“I  shall  take  your  hearts’  desire. 

And  your  wealth  of  gold  and  land! 

I  shall  take  your  soul’s  ambition. 

And  your  work  of  head  and  hand ! 

I  shall  take  away  your  nearest. 

Your  best  beloved  and  dearest! 

Are  you  for  me  or  against  me?”  asked  the  flag  as  it  went  by 
“God  be  with  us.  ’ 

We  are  for  you  !” 

Said  the  people  in  reply. 

Ol  Car  lina . James  Francis  Cooke 

The  words  and  music  of  this  song  were  written  by  James  Francis  Cooke 
the  Editor  of  1  he  Etude”  a  well  known  musical  magazine.  Mr.  Cooke  was 
for  many  years  a  prominent  teacher  of  piano  in  New  York  City.  He  is  a 
composer  and  writer  of  distinction  on  musical  subjects.  The  song  “Ol’ 
Car  lina  ’  is  dedicated  to  Amelita  Galli-Curci. 

I’m  on  my  way  to  ol’  Car’lina, 

Early  in  de  morn. 

I  want  to  see  my  mammy  smilin’. 

Back  where  I  was  born. 

I  want  to  see  the  gate  where  my  ol’  daddy  used  to  stand 
I  want  to  hold  his  ol’  bent  hoe  ’ 

Once  mo’  right  in  my  hand. 

You  red  birds  don’  need  call  no  mo’, 

I’se  gwine  back  home  to-day. 

It  seems  like  hebben  now  I  know,  that  I  am  on  my  way. 


Program  Notes 


First  Concert 


Chorus: 

Ol’  Car’lina,  Dear  Car’lina, 

Early  in  de  morn, 

Ol’  Car’lina,  My  Car’lina, 

Back  where  I  was  born. 

I’m  on  my  way  to  ol’  Car’lina, 

Can’t  get  da  too  soon, 

I  want  to  see  de  ol’  folks  sittin’ 

Out  beneaf  de  moon. 

No  matter  what  may  happen  me. 

No  matter  where  I  roam. 

Way  down  in  ol’  Car’lina 
They’ll  welcome  me  at  home. 

And  when  I  wake  tomorrow  morn 
I’ll  smell  the  flowers  once  more, 

I’ll  see  the  honey  suckle  climbing  o’er  the  cabin  door. 


Hail!  Bright  Abode — from  “Tannhauser”  -  Richard  JVagner 

(Born  at  Leipsic,  May  22,  1813;  died  at  Venice,  February  13,  1883.) 

This  number  is  a  festival  marching  song  from  the  opera,  Tannhauser 
by  Richard  Wagner.  The  story  is  founded  on  a  custom  of  that  time  when 
great  contests  of  song  were  held  among  the  singing  minstrels  of  the  land. 
In  a  certain  court  where  Tannhauser  was  both  knight  and  minstrel,  one  of 
these  song  tournaments  was  announced,  the  prize  being  the  hand  of  Elizabeth, 
the  beautiful  niece  of  the  Landgrave.  The  “March”  occurs  when  the  con¬ 
testants  and  guests  are  arriving  for  the  tournament.  It  is  dignified  hut  joyous, 
a  fine  example  of  a  “Festival  March.” 

Hail,  bright  abode,  where  song  the  heart  rejoices, 

Heav’ns  joy  and  peace  within  thee  never  fail. 

Long  may  we  sing  with  glad,  ringing  voices. 

Hail  to  our  land,  our  dearest  land,  all  hail! 

Glad  strains  of  song  from  hearts  in  joy  out  pouring. 

Bid  all  the  world  our  pride  and  joy  to  see. 

No  voice  of  lark  on  wings  of  morning  soaring. 

Thrills  with  such  rapture 
As  our  song  to  thee! 

Take,  oh  take  our  pledge  of  deep  devotion. 

Land  of  ours,  from  East  to  Western  ocean, 

Heav’n  guide  and  keep  us 
True  to  all  thy  laws. 

Hail,  bright  abode!  where  song  the  heart  rejoices, 

Heav’ns  love  and  peace  within  thee  never  fail. 

Long  may  we  sing  with  glad,  ringing  voices 
Long  may  we  sing  with  loyal  voices. 

Hail  to  our  land, 

All  Hail!  Hail!  Hail! 

Hail  to  our  glorious  land,  all  hail! 


Page  ritneteen 


r- 


Second  Concert 


Overture:  to  “Rouslane  et  Ludmila”  -  Michael  Ivanovich  Glinka 

(Bom  at  Novospasskoi,  Russia,  June  2,  1803;  died  at  Berlin,  Febmary  15,  1857.) 

The  chronological  position  of  Glinka  (“The  founder  of  Russian  art- 
music,”  as  he  has  been  called)  may  be  clearly  visualized  if  we  remember  that 
he  was  born  in  the  same  year  as  Berlioz ;  witnessed  the  production  of  his  second 
opera,  “Rouslane  et  Ludmila,”  in  the  year  of  the  first  performance  of  Wag¬ 
ner’s  “Rienzi” — 1842;  and  died  during  the  year  in  which  Wagner  began  the 
composition  of  “Tristan  und  Isolde.”  When  Glinka’s  masterpiece,  “Rouslane 
et  Ludmila,”  was  produced  at  Petrograd  in  1842,  Tschaikowsky  was  two 
years  old,  Moussorgsky  was  three,  Balakirew  was  six,  Cui  was  seven,  Borodine 
was  eight,  and  Rimsky-Korsakow  was  not  yet  born. 

Glinka’s  chief  claim  to  importance  as  a  music-maker  has  been  set  forth 
by  Mrs.  Newmarch:  He  possessed,  “in  an  extraordinary  degree,”  she  believes, 
both  “the  assimilative  and  germinal  forces.”  He  summed  up  a  long  series  of 
tentative  efforts  to  create  a  national  opera,  and  at  the  same  time  he  laid  the 
foundation  of  the  modern  Russian  School  of  Music.  He  did  not  merely  play 
with  local  color,  but  recast  the  primitive  speech  of  the  folk-song  into  a  new 
and  polished  idiom,  so  that  henceforth  Russian  music  was  able  to  take  its 
place  among  the  distinctive  schools  of  Western  Europe.  His  operas  must, 
therefore,  be  regarded  as  epoch-making  works  .  .  .  it  is  a  mistake  to  sup¬ 

pose  that  Glinka  was  lacking  in  creative  power.  He  rarely  uses  the  folk- 
tunes  in  their  crude  state.  Almost  invariably  he  originated  his  own  melodies, 
although  they  were  penetrated  through  and  through  by  national  sentiment  and 
color.  His  harmony  is  in  perfect  keeping  with  this  characteristic  melody,  and 

he  shows  himself  in  many  instances  to  be  a  skilful  contrapuntist . 

Glinka  possessed  that  initiative  faculty  which  begets  a  whole  school  of  disciples 
and  leaves  an  undying  influence  upon  his  art.” 


* 


Glinka’s  first  opera,  “A  Life  for  the  Tsar,”  produced  before  the  Imperial 
family  at  Petrograd,  December,  1836,  was  an  immediate  success — though 
some  “aristocrats”  (as  Mrs.  Newmarch  calls  them),  “sneering  at  the  national 
coloring  of  the  work,  spoke  of  it  as  ‘the  music  of  coachmen’  ” ;  but  it  was  gener¬ 
ally  felt  that  the  opera  marked  a  new  aesthetic  departure — the  birth  of  an  au¬ 
thentic  school  of  Russian  music.  Then  Glinka  set  to  work  upon  the  second  of 
his  two  operas:  “Rouslane  et  Ludmila,”  which  was  completed  slowly  and  in 
the  midst  of  many  difficulties.  Glinka  used  a  libretto  based  upon  Pushkin’s 
like-named  poem.  The  poet  himself  had  given  his  help  in  the  construction  of 
the  book  of  the  opera,  but  he  was  killed  in  a  duel  before  his  task  was  ended, 
and  the  libretto,  a  thing  of  shreds  and  patches,  was 'laboriously  completed 
with  the  help  of  various  Russian  men  of  letters  (Koukolnik,  Guedeonow,  and 
others),  besides  Glinka  himself.  The  opera  was  produced  December  10,  1842. 
A  better  work  musically  than  its  predecessor,  it  lacked  the  dramatic  force  and 
humanity  of  “A  Life  for  the  Tsar.”  In  “Rouslane,”  Glinka  “employed  the 
music  of  the  neighboring  East,  side  by  side  with  that  of  his  native  land.  Thus 


Page  tvjenty 


Program  Notes 


Second  Concert 


we  have  a  chorus  based  upon  a  Persian  melody;  a  ballet  movement  upon  a 
Turkish  theme,  and  several  genuine  Tartar  airs.”  But  these  things  availed 
not,  and  the  opera  failed  to  hit  the  public  taste — though  Liszt,  who  happened 
to  be  in  town,  was  filled  with  enthusiasm.  The  opera,  despite  its  failure  to 
please,  nevertheless  had  thirty-two  performances  in  the  season  of  1842-43, 
and  twenty  during  the  following  season.  After  Glinka’s  death  it  made  its  way 
rapidly  into  the  popular  heart,  and  its  fiftieth  anniversary  in  1892  marked  its 
two  hundred  and  eighty-fifth  performance. 


* 


The  opera  tells  the  story  of  Ludmila,  the  lovely  daughter  of  Prince 
Svietozar  of  Kiew.  Among  Ludmila’s  three  suitors,  Rouslane  was  her  favor¬ 
ite  ;  but  their  union  was  interfered  with  by  the  abduction  of  Ludmila,  who  had 
fallen  into  the  hands  of  the  magician  Chernomor.  The  three  knightly  suitors 
were  dispatched  by  Ludmila’s  father  in  search  of  her,  with  the  promise  of  her 
hand  as  their  reward.  Rouslane  was  the  fortunate  rescuer  of  the  lady,  but 
as  he  was  homeward  bound  with  her,  they  were'  intercepted  by  one  of  the  un¬ 
successful  suitors,  who  left  Rouslane  asleep  under  a  magic  spell,  bore  home  the 
maiden,  and  demanded  his  reward.  But  Rouslane  woke  up  in  time  to  foil 
the  plot,  and  the  outcome  was  precisely  what  it  should  have  been. 

In  the  Overture,  use  is  made  of  thematic  material  from  the  finale  of  the 
opera,  and  of  an  air  sung  by  Rouslane  in  the  second  act.  An  interesting  feature 
of  the  work  is  a  whole-tone  scale  in  the  coda,  which,  in  the  opera,  is  associated 
with  the  machinations  of  the  wicked  wizard  Chernomor.  This  is  probably  one  of 
the  earliest  appearances  of  the  whole-tone  scale,  made  fashionable  by  Debussy 
half  a  century  later. — Lawrence  Gilman. 


Moment  Musical  : 


Schubert 


“Moment  Musical”  is  one  of  six  short  piano  pieces  of  the  great  composer, 
Franz  Schubert,  which  have  been  played  by  all  the  great  pianists  at  their 
recitals  for  one  hundred  years.  All  of  the  pieces  are  very  different  in  style, 
and  this  one,  which  is  the  best  known  of  the  six,  follows  the  Hungarian  music 
rather  closely,  music  of  which  Schubert  was  very  fond. — Samuel  L.  Laciar. 


Minuet: 


Boccherini 


No.  d — “Minuet”  by  Boccherini  is  the  most  popular  composition  of  this 
composer,  who  wrote  a  great  deal  of  music,  very  little  of  which  is  played  now. 
This  charming  minuet  was  originally  written  for  a  string  quintet  in  the  form 
of  two  violins,  one  viola  and  two  cellos,  for  which  combination  Boccherini 
wrote  many  compositions.  But  the  minuet  was  so  charming  in  its  melody  that 
it  has  lived  for  nearly  two  hundred  years.  Although  the  minuet  is  still  played 
a  great  deal,  the  rest  of  the  quintet  of  which  it  is  a  part  is  now  forgotten. 
But  this  movement  is  played  for  almost  every  possible  combination  of  instru¬ 
ments,  from  the  piano  to  the  full  orchestra. — Samuel  L.  Laciar. 


Page  t^'enty-one 


Program  Notes 


Second  Concert 


Prelude  to  “Die  Meistersinger’ 


Richard  Wagner 


In  the  autumn  of  1861  Wagner  spent  “four  dreary  days”  (as  he  after¬ 
ward  spoke  of  them)  in  Venice  with  the  Wesendoncks — Mathilde,  his  quon¬ 
dam  Isolde,  and  the  forgiving  Otto,  her  husband.  Tristan  had  been  born  of 
the  Zurich  flame,  and  the  fires  had  died  down  to  such  an  extent  that  Wagner 
could  urge  his  former  Isolde  to  “learn  and  teach  and  be  patient” — a  virtue 
which,  he  blandly  remarks,  he  has  acquired  himself;  and  he  assures  her  that 
he  is  “fully  resigned.” 

That  visit  to  the  Wesendoncks  must  have  been  a  bit  trying.  Poor  Otto 
evidently  succeeded  in  getting  on  Wagner’s  nerves.  “My  friends,”  he  tells 
us  in  his  autobiography,  “were  in  very  flourishing  circumstances,  and  .  .  . 

fully  expected  that  a  participation  in  their  enjoyment  would  drive  away  my 
blues.  They  seemed  to  have  no  desire  to  realize  my  position  in  Vienna  [where 
'Tristan  matters  were  running  their  weary  course  like  a  chronic  disease’].” 
Otto  Wesendonck  went  about  armed  with  huge  field  glasses  for  sight-seeing, 
and  only  once,  complains  Richard,  “took  me  with  him  to  see  the  Academy 
of  Arts.” 

* 


* 


His  despondency,  however,  was  somewhat  lightened  by  a  mystically  en- 
heartening  experience  which  he  records  in  his  autobiography.  Gazing  upon 
Titian’s  “Assumption  of  the  Virgin,”  he  found  that  it  “exercised  a  most  sub¬ 
lime  influence”  upon  him.  “As  soon  as  I  realized  its  conception,”  he  tells  us, 
“my  old  powers  revived  in  me,  as  though  by  a  sudden  flash  of  inspiration.  I 
determined  at  once  on  the  composition  of  “Die  Meistersinger.”  He  returned 
to  Vienna  November  13th,  and,  he  says,  “it  was  during  this  journey  that  the 
music  of  “Die  Meistersinger”  first  dawned  on  my  mind — in  which  I  still 
retained  the  libretto  as  I  had  originally  conceived  it  (sixteen  years  before). 
With  the  utmost  distinctness  I  at  once  composed  the  principal  part  of  the 
Overture  in  C  major.  Under  the  influence  of  these  impressions  [he  continues] 
I  arrived  in  Vienna  in  a  very  cheerful  frame  of  mind.” 


* 


* 


* 


Wagner  went  to  Paris  in  December,  and  took  a  small  room  on  the  Quai 
Voltaire.  “I  often  laugh  out  loud,”  he  wrote  to  Mathilde  Wesendonck, 
“when  I  raise  my  eyes  from  my  work-bench  to  the  Tuilleries  and  Louvre 
straight  opposite,  for  you  must  know  that  in  reality  I  am  in  Nuremberg  now, 
and  mixing  with  somewhat  blunt,  three-cornered  folk.”  He  says  that  he 
conceived  the  melody  of  the  chorale,  “Wach’  Auf,”  in  the  galleries  of  the 
Palais  Royal,  and  jotted  down  the  tune  in  the  Taverne  Anglaise. 

In  February,  1862,  Wagner  settled  at  Biebrich,  in  “a  couple  of  nice  rooms, 
magnificently  situated  on  the  brink  of  the  Rhine.”  On  March  12th  he  wrote 
Mathilde  that  he  hoped  “to  start  work  at  last  tomorrow.  ...  I  am 
thoroughly  settled  here  now,  have  two  chambers  hired  for  a  year,  the  pianoforte, 
bookcase,  renowned  divan,  the  three  Roman  engravings  and  the  old  Nibelun- 
gen  print.  .  .  .  The  site  is  extraordinarily  lovely.  ...  A  beautiful, 

quite  spacious  garden ;  the  birds  in  the  [duke’s]  park  keep  up  a  contest  of 
song  with  those  on  the  island  opposite ;  the  nightingales  are  numberless,  they 
say,  and  positively  deafening  in  their  season.  So  here  will  I  await  my  Master- 
singer  destiny.” 


Page  t^venty-t^vo 


Program  Notes 


Second  Concert 


“The  fair  season  of  the  year,”  he  says  in  his  autobiography,  “was  now 
approaching,  and  I  was  once  more  seized  with  a  desire  for  worL  As  from 
the  balcony  of  my  flat,  in  a  sunset  of  great  splendor,  I  gazed  upon  the  magnifi¬ 
cent  spectacle  of  ‘Golden’  Mayence,  with  the  majestic  Rhine  pouring  along 
its  outskirts  in  a  glory  of  light,  the  Prelude  to  my  Meister singer  again  suddenly 
made  its  presence  closely  and  distinctly  felt  in  my  soul.  Once  before  had  I 
seen  it  rise  before  me  out  of  a  lake  of  sorrow,  like  some  distant  mirage.  I  pro¬ 
ceeded  to  write  down  the  prelude  exactly  as  it  appears  today  in  the  score,  con¬ 
taining  the  clear  outlines  of  the  leading  themes  of  the  whole  drama.  I  proceeded 
at  once  to  continue  the  composition,  intending  to  allow  the  remaining  scenes  to 
follow  in  due  succession.” 

In  the  following  autumn  (November  1,  1862)  Wagner  conducted  the 
Prelude  at  a  specially  organized  concert  in  the  Gewandhaus  at  Leipsic.  The 
audience  was  small,  but  so  responsive  that  the  Prelude  was  at  once  repeated. 

*  *  * 

Wagner  never  more  completely  than  in  the  Prelude  to  his  most  radiant 
score  achieved  what  he  set  out  to  accomplish.  This  spacious  and  magnificent 
music,  endlessly  delectable  as  a  pattern  of  sound,  is  marvelous  in  its  vivid 
projection  of  a  recovered  past.  Here,  to  the  life,  is  mediaeval  Nuremberg, 
“with  its  thousand  gable-ends,  its  fragrant  lime  trees  and  gardens,  its  ancient 
customs,  its  processions  of  the  guilds  and  crafts,  its  watchman  with  his  horn 
and  lantern,  calling  the  hour;  its  freshness  and  quaint  loveliness  by  day  and 
its  sweetness  on  soft  summer  nights.” 

Wagner  wrote  to  Mathilde  on  May  22,  1862:  “It  has  become  clear  to 
me  that  this  work  [the  music  of  the  opera  as  a  whole]  will  be  my  most  con¬ 
summate  masterpiece.”  It  was  not  the  first  time  he  had  thought  that  about 
a  score  upon  which  he  was  engaged.  Whether  he  was  right  about  Die  Meister- 
singer  can  scarcely  be  determined  with  that  airy  dogmatism  which  is  the  usual 
critical  reaction  to  such  a  challenge.  It  has  become  rather  the  mode  of  late  years 
to  exalt  Die  Meister  singer  above  Wagner’s  other  works,  or  to  use  it  as  a  stick 
wherewith  to  beat  the  recreant  lovers  who  sat  too  late  into  the  night  upon 
King  Mark’s  park  bench.  Some  have  seen  here  an  opportunity  to  oppose  the 
“sweet  and  sane”  against  the  “sensuous  and  hectic.”  It  is  hard  to  imagine 
an  idler  occupation.  You  may  agree  with  Mr.  Runciman  that  “as  a  piece  of 
music,  detachable  from  the  opera,  the  Overture  transcends  every  other  work  of 
Wagner’s” ;  that  Die  Meistersinger  as  a  whole  is  “as  nearly  perfect  as  ever 
opera  is  likely  to  be,”  or  you  may  cast  lingering  backward  glances  at  the 
music  of  Tristan,  which  certainly  has  its  points,  or  at  G otter dammerung ,  or  at 
the  much  abused  hut  still  surviving  Parsifal.  But  you  will  perhaps  return  to 
Die  Meistersinger  with  the  realization  that  here,  at  all  events,  is  something 
the  like  of  which  is  not  elsewhere  to  be  found  among  the  legacies  of  the  human 
spirit — this  marvelous  blend  of  gravity  and  sweetness,  tenderness  and  humor, 
delicacy  and  strength ;  this  music  that  is  warm  with  humanity,  yet  drenched 
in  poetry  and  magic,  and  of  such  enchanting  beauty  that  you  are  inclined  to 
suspect  the  advances  of  a  Comic  Spirit  whose  gestures  are  of  so  supreme  a 
grace. — Lawrence  Gilman. 


Page  i^'enty-three 


Program  Notes  Second  Concert 


Waltz  OF  the  Flowers  (“The  Nutcracker  Suite”),  Tschaikowsky 

(Bom  at  Votinsk,  Russia,  May  7,  1840;  died  at  St.  Petersburg,  November  6,  1893.) 

The  story  on  which  Tschaikowsky’s  ballet  is  founded  concerns  a  wonder¬ 
ful  dream  that  came  to  little  Marie  Silberhaus  after  the  Christmas  party  at 
which  the  presents  were  dolls  that  behaved  as  if  they  were  alive — though 
Marie  herself  had  received  only  an  ordinary  household  nutcracker,  which  ap¬ 
parently  had  no  higher  destiny  than  the  destruction  of  filbert  shells.  But  Marie, 
after  the  wise  and  mysterious  fashion  of  the  young,  was  captivated  by  the 
poor  crunching  thing;  and  after  the  candles  had  been  blown  out  and  when  the 
house  was  dark  and  still,  she  climbed  out  of  bed  and  tiptoed  downstairs  to  look 
at  her  pet.  Whereupon  marvelous  things  began  to  happen.  The  Christmas 
tree  blazed  again  with  light,  the  toys  and  sweetmeats  were  dancing  wildly, 
and  the  Nutcracker  had  come  to  life  and  was  taking  part  in  the  festivities. 
But  suddenly  a  terrific  battle  began  between  the  tin  soldiers,  led  by  the  Nut¬ 
cracker,  and  an  army  of  mice  under  the  command  of  their  king.  The  Nut¬ 
cracker  and  the  Mouse-King  clinched,  and  things  looked  black  for  the  Nut¬ 
cracker,  whose  muscles  were  naturally  a  bit  lame  from  his  labors  at  the 
Christmas  dinner.  But  just  at  this  moment  Marie  slew  the  Mouse-King  with 
her  slipper,  and  his  army  retired  in  defeat.  The  Nutcracker  was  transformed 
into  a  glorious  young  prince,  and  he  and  Marie  flew  away  together  over  the 
silent,  snowy  forests  to  the  delectable  Kingdom  of  Sweetmeats  and  Lollipops. 
There  they  were  welcomed  by  the  Sugar-Plum  Queen — the  Fairy  Dragee, 
with  all  her  Court,  and  a  dance  of  the  Sweetmeats  was  arranged  for  the  edifi¬ 
cation  of  the  visiting  lovers. 

In  the  concert  suite  derived  from  the  music  of  Tschaikowsky’s  ballet, 
the  Danses  caracteristiques  (except  the  opening  march)  and  the  False  des 
Fleurs  should  be  thought  of  in  connection  with  the  festivities  at  the  court  of 
the  Sugar-Plum  Queen  (the  Fairy  Dragee).  A  “mirliton,”  it  may  be  ob¬ 
served,  is  a  sort  of  toy  pipe:  and  in  Tschaikowsky’s  ballet,  the  Mirlitons  were 
among  those  present  at  the  ball  given  by  the  Fee-Dragee  for  Marie  and 
her  prince. — Lawrence  Gilman. 

Ride  of  the  Valkyries,  from  “Die  Walkure”  -  Richard  Wagner 

(Bom  at  Leipsic,  May  22,  1813;  died  at  Venice,  February  13,  1883.) 

No  one  has  written  with  more  affectionate  and  communicative  eloquence 
of  the  music  of  Wagner  than  John  F.  Runciman,  whose  book  on  the  mighty 
enchanter  is  unflagging  in  gusto  and  vividness.  Here  is  his  unforgettable 
description  of  the  W alkurenritt : 

The  drama  here  is  of  the  most  poignant  kind ;  the  scenic  surroundings  are 
of  the  sort  Wagner  so  greatly  loved — tempest  amidst  black  pine  woods  with 
wild,  flying  clouds,  the  dying  down  of  the  storm,  the  saffron  evening  light 
melting  into  shadowy  night,  the  calm,  deep  blue  sky  with  the  stars  peeping  out, 
then  the  bright  flames  shooting  up ;  and  the  two  elements,  the  dramatic  and 
the  pictorial,  drew  out  of  him  some  pages  as  splendid  as  any  even  he  ever 
wrote.  The  opening,  “the  Ride  of  the  Valkyries”  is  a  piece  of  storm-music 
without  a  parallel.  There  is  no  need  here  for  Donner  with  his  hammer;  the 


Page  t=wenty-four 


Program  Notes 


Second  Concert 


All-Father  himself  is  abroad  in  wrath  and  majesty,  and  his  daughters  laugh 
and  rejoice  in  the  riot.  There  is  nothing  uncanny  in  the  music:  we  have  that 
delight  in  the  sheer  force  of  the  elements  which  we  inherit  from  our  earliest 
ancestors:  the  joy  of  nature  fiercely  at  work  which  is  echoed  in  our  hearts 
from  time  immemorial.  The  shrilling  of  the  wind,  the  hubbub,  the  calls  of 
the  Valkyries  to  one  another,  the  galloping  of  the  horses,  form  a  picture  which 
for  splendor,  wild  energy,  and  wilder  beauty  can  never  be  matched. 


* 


^1^ 


Technically,  this  Ride  is  a  miracle  built  up  of  conventional  figurations  of 
the  older  music.  There  is  the  continuous  shake,  handed  on  from  instrument  to 
instrument,  the  slashing  figure  of  the  upper  strings,  the  kind  of  basso  ostinato, 
conventionally  indicating  the  galloping  of  horses,  and  the  chief  melody,  a  mere 
bugle  call,  altered  by  a  change  of  rhythm  into  a  thing  of  superb  strength. 
The  only  part  of  the  music  that  ever  so  remotely  suggests  extravagance  is  the 
Valkyries’  call;  and  it,  after  all,  is  only  a  jodel  put  to  sublime  uses.  Out  of 
these  commonplace  elements,  elements  that  one  might  almost  call  prosaic, 
Wagner  wrought  his  picture  of  storm,  with  its  terror,  power,  joyous  laughter 
of  the  storm’s  daughters — storm  as  it  must  have  seemed  to  the  first  poets  of 
our  race. 

It  is  worth  looking  at  the  plan  of  this  Ride — which  is,  be  it  remembered, 
only  the  prelude  to  the  gigantic  drama  which  is  to  follow.  After  the  ritornello 
the  main  theme  is  announced,  with  a  long  break  between  the  first  and  second 
strains ;  and  again  a  break  before  it  is  continued.  Then  it  sounds  out  in  all 
its  glory,  terse,  closely  gripped  section  to  section,  until  the  Valkyries’  call  is 
heard;  purely  pictorial  passages  follow;  the  theme  is  played  with,  even  as 
Mozart  and  Beethoven  played  with  their  themes,  and  at  the  last  the  whole  force 
of  the  orchestra  is  employed,  and  Wagner’s  object  is  attained — he  has  given 
us  a  picture  of  storm  such  as  was  never  done  before,  and  he  has  done  what 
was  necessary  for  the  subsequent  drama — made  us  feel  the  tremendous  might 
of  the  god  of  storms. — Laiurence  Gilman. 


Finlandia,  Symphonic  Poem  for  Orchestra,  Op.  26,  No.  7, 

Jan  Sibelius 

(Born  at  Tavastehus,  Finland,  December  8,  1865;  still  living.) 

Mrs.  Rosa  Newmarch,  the  biographer  of  Sibelius,  quotes  the  composer 
as  stating  with  emphasis  that  he  has  used  no  genuine  folk-tunes  in  this  score. 
“There  is  a  mistaken  impression  abroad,”  Sibelius  is  said  to  have  remarked 
some  years  ago  to  Mrs.  Newmarch,  “that  my  themes  are  often  folk-melodies. 
So  far  I  have  never  used  a  theme  that  was  not  of  my  own  invention.  The 
thematic  material  of  Finlandia  (and  of  En  Saga)  is  entirely  my  own.”  Mrs. 
Newmarch  remarks  that,  like  Glinka,  '“Sibelius  avoids  the  crude  material  of 
the  folk-song;  but  like  that  great  national  poet,  he  is  so  penetrated  by  the 
spirit  of  his  race  that  he  can  evolve  a  national  melody  calculated  to  deceive 
the  elect.” 

Finlandia,  in  its  expression  of  contrasted  moods,  traverses  agitation,  pray¬ 
erfulness,  sorrow,  buoyancy,  elevation,  and  a  prophetic  vision,  as  it  seems,  of 
ultimate  national  triumph. 


Page  twenty-five 


Program  Notes 


Second  Concert 


The  work  was  composed  in  1894.  At  one  of  its  first  performances  in 
this  country — by  the  Russian  Symphony  Orchestra  in  1905 —  this  note  on  the 
score  was  published : 

Finlandia,  though  without  explanatory  sub-title,  seems  to  set  forth  an  im¬ 
pression  of  the  national  spirit  and  life.  The  work  records  the  impressions  of 
an  exile’s  return  home  after  a  long  absence.  An  agitated,  almost  angry 
theme  for  the  brass  choir,  short  and  trenchant,  begins  the  introduction.  Andante 
sostenuto  {alia  breve).  This  theme  is  answered  by  an  organ-like  response  in 
the  woodwind,  and  then  a  prayerful  passage  for  strings,  as  though  to  reveal 
the  essential  earnestness  and  reasonableness  of  the  Finnish  people,  even  under 
the  stress  of  national  sorrow.  This  leads  to  an  Allegro  rnoderato  episode,  in 
which  the  restless  opening  theme  is  proclaimed  by  the  strings  against  a  very 
characteristic  rhythmic  figure,  a  succession  of  eight  beats,  the  first  strongly 
accented.  With  a  change  to  Allegro  the  movement,  looked  at  as  an  example 
of  the  sonata  form,  may  be  said  to  begin.  A  broad,  cheerful  theme  by  the 
strings,  in  A-flat,  against  the  persistent  rhythm  in  the  brass,  is  followed  by  a 
second  subject,  introduced  by  the  woodwind  and  taken  up  by  the  strings,  then 
by  the  ’cello  and  first  violin.  This  is  peaceful  and  elevated  in  character,  and 
might  be  looked  upon  as  prophetic  of  ultimate  rest  and  happiness.  The  de¬ 
velopment  of  these  musical  ideas  carries  the  tone  poem  to  an  eloquent  con¬ 
clusion. — Lawrence  Gilman. 


Page  tvaenty-six 


Third  Concert 


Overture:  “Le  Carnaval  Romain,”  Opus  9  -  Hector  Berlioz 

The  overture  “Le  Carnaval  Romain,”  was  written  by  Berlioz  to  serve 
as  the  overture  to  the  second  act  of  his  opera  “Benvenute  Cellini,”  which  was 
produced  in  1838.  It  is,  therefore,  apparent  that  Berlioz  preceded  Wagner 
in  the  use  of  overtures  before  the  various  acts  of  the  opera.  Berlioz,  in  his 
memoirs,  writes  that  on  the  night  of  the  presentation  of  “Benvenuto  Cellini” 
this  overture  was  received  with  “exaggerated  applause,”  while  the  opera  itself 
was  a  “brilliant  failure,”  being  “hissed  with  remarkable  energy.”  The  theme 
of  the  “Carnaval  Romain”  is  a  Saltarello,  which  is  to-day  sung  and  danced 
in  Rome.  This  theme  opens  the  overture,  and  is  followed  by  a  slow  melody 
of  a  romantic  nature  given  by  English  horn ;  then  suddenly  the  Saltarello  theme 
is  taken  up  again  by  the  full  orchestra;  the  development  is  practically  taken  up 
with  this  theme,  although  the  second  subject  is  brought  back  once  more  to 
serve  as  a  contrast  to  the  brilliant  vigor  of  the  dance  subject.  The  overture, 
allegro  assai  con  fuoco,  is  scored  for  flutes,  oboes,  English  horn,  clarinets,  four 
horns,  bassoons,  trumpets,  cornets-a,-pistons,  three  trombones,  kettle-drums, 
cymbals,  tambourine,  triangle  and  strings. 

Prayer  (from  “Cavalleria  Rusticana”)  .  .  .  .  Mascagni 

Unlike  many  suddenly  successful  works,  “Cavalleria  Rusticana”  continues 
to  hold  its  own  as  one  of  the  most  popular  of  operas.  Nor  is  this  hard  to 
understand.  The  plot  moves  directly  and  simply  to  its  predestined  end ;  the 
music  is  forceful  and  strong,  intensely  dramatic  in  feeling  and  rich  in  harmony 
and  orchestration.  It  is  a  happy  blending  of  the  old  and  the  new.  In  its 
melodiousness  it  adheres  to  the  older  tradition.  Tunes  abound,  so  simple  in  char¬ 
acter  that  any  person  with  an  average  ear  for  music  can  readily  grasp  them. 

The  scene  is  laid  in  a  Sicilian  village.  It  is  Easter  Day,  a  festival  that 
means  as  much  to  the  Sicilians  as  Christmas  to  us.  Moreover,  it  is  springtime, 
and  the  air  is  fragrant  with  the  odor  of  orange  blossoms,  and  the  lark  rises 
singing  from  myrtles  in  full  bloom.  The  “Prayer”  (“Regina  Coeli”  and 
“Ineggiamo  al  Signore”)  is  exceptionally  rich  in  melody  and  harmony.  Its 
tranquil  beauty  and  sanctity  of  feeling  deeply  emphasize  the  part  religion  plays 
in  the  lives  of  these  simple,  pastoral  people. 

Father  in  Heaven  we  adore  Thee, 

We  bless  Thy  holy  name  forever! 

We  adore  Thee,  kneel  before  Thee, 

Bless  Thy  holy  name  forever! 

Let  us  bow  down  in  grateful  submission 

To  the  will  of  the  Father  above 

For  we  know  He  will  guard  and  defend  us. 

We  are  sure  of  His  mercy  and  His  love ! 

Let  us  sing  to  the  Father  in  Heaven, 

To  the  Lord  let  our  praises  be  given. 

Come  let  our  voices  accord, 

Singing  the  praise  of  the  Lord! 

Hallelujah ! 

Sing  the  praise  of  the  Lord ! 


Program  Notes 


Third  Cong  ert 


Scherzo:  “Midsummer-Night’s  Dream”  -  -  Mendelssohn 

Mendelssohn  never  wrote  an  opera,  but  his  music  to  Shakespeare’s  com¬ 
edy,  “A  Midsummer-Night’s  Dream,”  would  be  sufficient  to  give  him  a  high 
place  among  dramatic  composers.  The  overture  was  written  for  a  preformance 
of  Shakespeare’s  comedy,  which  was  given  by  the  Mendelssohn  family,  when 
the  composer  was  but  seventeen  years  old.  Seventeen  years  later  the  remainder 
of  the  incidental  music  was  written.  In  its  truest  sense,  this  overture  be¬ 
longs  to  the  style  of  '“Concert  Overtures,”  which  Mendelssohn  later  gave  the 
world.  Frederick  Weiks  thus  describes  this  work: 

“The  sustained  chords  of  the  wind  instruments  with  which  the  overture 
opens,  are  the  magic  formula  that  opens  to  us  the  realms  of  fairyland.  The 
busy  tripping  first  subject  tells  us  of  the  fairies;  the  broader  and  more  dignified 
theme  which  follows,  of  Duke  Theseus  and  his  retinue;  the  passionate  second 
subject  of  the  romantic  lovers,  while  the  clownish  second  part  pictures  the 
tradesmen,  and  the  braying  reminds  us  of  Bottom,  as  the  ass.  The  development 
is  full  of  bustle  and  the  play  of  the  elves.  In  conclusion,  we  have  once  more 
the  magic  formula  which  now  dissolves  the  dream  it  before  conjured  up.” 

The  sparkling  fairy  Scherzo  occurs  as  an  entr’acte  to  the  first  and  second 
acts  of  Mendelssohn’s  musical  setting  for  “A  Midsummer-Night’s  Dream.” 
This  is  a  dainty  and  delicate  piece  of  writing  for  orchestra,  being  scored  for 
strings,  wood-winds,  two  horns,  two  trumpets  and  kettle  drums.  The  two 
contrasting  themes  are  used  in  the  regulation  two-part  dance  form. 

Deh  vieni  non  tardar  (“The  Marriage  of  Figaro”)  -  Mozart 

Mozart’s  “Marriage  of  Figaro,”  with  its  merry  plot  and  music,  is  one 
of  the  most  delightful  of  musical  comedies,  and  regret  must  be  expressed  for 
the  all  too  infrequent  performances  of  this  ever-young  and  lovely  opera,  in 
which  all  the  complications  of  the  story,  the  quick  changes  of  mood,  and  the 
sparkling  humor  are  all  so  well  reflected  in  the  music.  In  no  single  opera,  per¬ 
haps  is  there  such  a  succession  of  musical  gems  as  in  Figaro.  The  air  “Deh 
vieni  non  tardar”  is  sung  by  Susanna  and  occurs  in  the  fourth  act. 

Susanna 

Ah,  why  so  long  delay?  speed,  speed  thee  hither! 

While  thou’rt  away,  all  nature  seems  to  wither. 

Tho’  bright  the  moon,  and  bright  the  stars  are  glowing. 

Deeper  around  the  wood  its  shade  is  throwing. 

In  every  gentle  murmur  of  the  river, 

In  the  rustling  reeds  that  near  it  quiver, 

A  voice  to  love  invites,  the  bosom  filling 
With  love  alone,  all  other  passions  stilling; 

Come  then,  my  dearest, — the  hours  are  quickly  flying! 

Let  me  with  roses  bind  now  thy  head ! 


Paffe  twenty-eight 


Program  Notes 


Third  Concert 


Who  is  Sylvia? . Schubert 

This  charming  setting  of  the  love  song  from  Shakespeare’s  “Two  Gentle¬ 
men  of  Verona”  has  an  interesting  history.  It  is  said  that  Schubert  was  one 
afternoon  with  friends  in  a  restaurant  of  Vienna  when  he  noticed  a  volume 
of  Shakespeare  on  the  table.  Opening  it,  he  noted  the  verses  of  “Cymbeline” 
and  remarked:  “These  would  make  a  pretty  song.”  Taking  the  back  of  the 
menu  card  he  wrote  the  music  of  “Hark,  hark  the  lark.”  Then  turning  the 
card  over  he  wrote  the  music  for  these  verses. 

Who  is  Sylvia?  What  isi  she? 

That  all  our  swains  commend  her? 

Holy,  fair,  and  wise  is  she; 

The  Heaven  such  grace  did  lend  her, 

That  she  might  admired  be. 

Is  she  kind  as  she  is  fair? 

For  beauty  lives  with  kindness; 

Love  doth  to  her  eyes  repair, 

To  help  him  of  his  blindness; 

And,  being  helped,  inhabits  there. 

Then  to  Sylvia  let  us  sing, 

That  Sylvia  is  excelling; 

She  excels  each  mortal  thing 

Upon  the  dull  earth  dwelling: 

To  her  let  us  garlands  bring. 


Lenz . Hildach 

The  finch  is  winging,  the  Spring  is  here, 

No  sign  with  her  bringing  how  she  drew  near! 

Came,  so  softly  going  thro’  the  night 
And  lo,  all  is  glowing  in  splendor  bright; 

Glad  fountains  are  welling  ’mid  waving  dew. 

The  green  buds  swelling,  the  heaven  is  blue! 

Swing  bells,  merry  ringing,  far  and  near. 

All  joyously  singing:  fair  Spring  is  here! 

A  Song  of  Victory . Percy  Fletcher 

The  words  and  music  of  this  stirring  patriotic  chorus  were  written  by 
Percy  Fletcher  a  contemporary  English  composer  who  is  best  known,  perhaps, 
for  his  choral  compositions.  Mr.  Fletcher’s  charming  setting  of  “The  Walrus 
and  the  Carpenter”  for  children’s  chorus  has  been  widely  used. 

America !  ask  of  thyself — What  woulds’t  thou  have  to-day 
To  kindle  into  flame  the  ever  smould’ring  fire 
Of  deep  emotion,  full  of  patriotic  pride. 

Which  burns  low  down  beneath  the  sturdy,  gallant  breasts 
Of  thine  industrial  sons?  What  would’st  thou  have? 

A  Song! 

A  Song  of  Victory  and  Might!  A  Song  of  Justice  and  of  Right! 

Sung  with  firm  determination  to  the  manhood  of  the  Nation, 

Who  on  hearing  it  may  cry  “We  will  live,  and  do,  and  die, 

’Neath  the  flag  unfurl’d  on  high,  for  our  Country  and  the  Right!” 


Page  tveenty-nine 


America!  ask  of  thyself— What  would’st  thou  have  to-day 
To  waken  into  life  the  frail  yet  fertile  germ 
Of  tender  impulse  full  of  true  affection’s  charm, 

Which  slumbers  softly  ’neath  the  gentle,  noble  smiles 
Of  all  thy  fairest  daughters?  What  would’st  thou  have? 

A  Song! 

A  Song  of  Motherhood  and  Love,  with  gracious  influence  from  above! 
Sung  with  simple  supplication  to  the  women  of  the  Nation, 

Who  on  hearing  it  may  say  “We’ve  a  part  which  we  can  play. 

We  must  love,  and  we  must  pray,  for  our  Country  and  the  right!” 

America !  Ask  of  thyself — What  would’st  thou  have  to-day 
To  banish  and  to  soothe  the  ever-burning  fear 
Of  bitter  conflict,  full  of  misery  and  woe. 

Which  gnaws  and  palpitates  within  the  anxious  hearts 
Of  all  earth’s  noble  children.  What  would’st  thou  have? 

A  Song! 

A  Song  of  Comfort  and  of  Peace!  That  whispers — “strife  shall  cease!” 
Sung  with  quiet  consolation  to  the  offspring  of  the  Nation, 

Who  on  hearing  it  may  know,  if  in  the  Wisdom’s  path  they  go. 

Peace  her  blessing  will  bestow  on  their  nation  and  their  work! 

O  Song  of  Peace  and  Love  and  Might,  swell  forth  in,  peans  ever  bright! 
Thy  matchless  melodies  entwine  in  blended  harmonies  divine; 

Thy  message  send  from  Pole  to  Pole,  enflame  each  patriot’s  heart  and  soul. 
Till  from  our  nation’s  wide  domain  shall  rise  an  answering  refrain; 
Devoted  millions  join  and  sing:  “God  save  our  Motherland! 

Land  of  the  free!” 


Blue  Danube,  Waltz . Johann  Strauss 

No,  8 — “Blue  Danube”  Waltz  is  undoubtedly  the  greatest  waltz  ever 
written,  not  only  in  its  enormous  popularity,  but  in  its  wealth  of  musical 
ideas.  It  is  the  composition  of  the  younger  Johann  Strauss.  A  story  absolutely 
authentic,  which  cannot  be  said  of  all  musical  stories,  is  told  of  this  waltz, 
the  music  of  which  has  been  justly  admired  by  every  great  musician  who  has 
ever  lived  since  it  was  composed.  When  Brahms  was  asked  for  his  autograph 
by  the  daughter  of  Johann  Strauss,  he  took  the  book,  wrote  a  few  measures  of 
the  “Blue  Danube”  waltz,  and  underneath  the  notes  penned  these  words: 
“Not,  unfortunately,  by  Yours  Sincerely,  Johannes  Brahms.”  Every  section 
of  the  waltz  is  a  treasure  house  of  melody  and  all  of  them  characteristic  of 
the  old  Vienna  life.  This  great  tribute  to  “Father  Danube”  will  probably 
last  as  long  as  the  river  flows. — Samuel  L.  Laciar. 

Ocean,  Thou  Mighty  Monster  (from  “Oberon”)  -  JVeher 

Oberon  was  the  last  opera  composed  by  Karl  Maria  von  Weber.  It  was 
written  on  commission  for  Covent  Garden,  London,  and  produced  April  12, 
1826.  Eight  weeks  after  the  successful  premier  of  the  opera  von  Weber  passed 
away,  worn  out  with  ill  health  and  the  extra  exertion  of  the  final  rehearsals. 
The  music  to  Oberon,  though  the  work  of  a  man  dying  by  inches,  bears  no 


Program  Notes 


Third  Concert 


trace  of  mental  exhaustion ;  indeed,  it  is  delightfully  fresh  and  original 
throughout,  and  entirely  different  from  all  the  rest  of  Weber’s  compositions. 
The  key-note  of  the  whole  is  its  picture  of  the  mysteries  of  elf-land,  and  the 
life  of  the  spirits  of  air,  earth  and  water.  True,  this  note  is  touched  in  “Der 
Freischutz”  and  “Euryanthe”;  but  in  “Oberon”  it  is  worked  with  full  force 
and  vibrates  with  an  almost  intoxicating  swiftness.  What  Weber  did  in  this 
direction  was  absolutely  new  and  a  valuable  addition  to  his  art,  and  many 
composers  have  followed  in  the  same  track.  His  melody,  the  chords  of  his 
harmony,  the  figures  employed,  the  effects  of  color  so  totally  unexpected,  all 
combine  to  waft  us  with  a  mysterious  power  into  an  unknown  land. 

Ocean !  thou  mighty  monster,  that  liest  curl’d  like  a  green  monster 
about  the  world, 

To  musing  eye  thou  art  an  awful  sight,  when  calmly  sleeping  in  the 
morning  light, 

But  when  thou  riseth  in  thy  wrath,  as  now,  and  fling’st  thy  folds 
around  some  fated  prow. 

Crushing  the  strong  ribb’d  bark  as  twere  a  reed. 

Then,  O  ocean,  art  thou  terrible  indeed. 

Still  I  see  thy  brilliant  billows  flashing. 

Through  the  gloom  their  white  foam  flinging 
And  the  breakers,  sullen,  dashing. 

In  mine  ear  hope’s  knell  is  ringing. 

But  lo,  methinks  a  light  is  breaking. 

Slowly  o’er  the  distant  deep. 

Like  a  second  morn  awaking 
Pale  and  feeble  from  its  sleep. 

Brighter  now  behold  ’tis  beaming! 

On  the  storm  whose  misty  train. 

Like  some  shatter’d  flag  is  streaming. 

Or  a  wild  steed’s  flying  mane. 

And  now  the  sun  bursts  forth. 

The  wind  is  lulling  fast. 

And  the  broad  w'ave  pants  from  fury  past. 

Cloudless  o’er  the  blushing  water 
Now  the  setting  sun  is  burning. 

Like  a  victor  red  with  slaughter. 

To  his  tent  in  triumph  turning. 

Oh,  perchance  these  eyes  may  never 
Look  upon  its  light  again. 

Fare  thee  well,  bright  orb,  for  ever. 

Thou  for  me  wilt  rise  in  vain! 

But  what  gleams  so  white  and  fair. 

Heaving  with  the  heaving  billow? 

’Tis  a  sea  bird,  wheeling  there. 

O’er  some  wretch’s  wat’ry  pillow. 

No,  it  is  no  bird  I  mark, 

Joy,  it  is  a  boat,  a  sail! 

And  yonder  rides  a  gallant  bark 
Unimpair’d  by  the  gale! 

O,  transport!  My  Huon,  haste  down  to  the  shore. 

Quick,  quick  for  a  signal. 

This  scarf  shall  be  waved. 

They  see  me!  They  answer!  They  ply  the  strong  oar, 

Huon,  my  husband!  My  love!  we  are  sav’d! 


Page  thirty-OJie 


Program  Notes 


Third  Concert 


Dance  from  “Snegourotchka”  -  -  N.  A.  Rtmsky-Korsakow 

(Born  at  Tikhvin,  Russia,  March  18,  1844;  died  at  Petrograd,  June  21,  1908.) 

Rimsky-Korsakow’s  opera,  Snegourotchka  (“The  Snow  Maiden”),  a 
“tale  of  spring”  in  four  acts  and  a  prologue,  based  on  a  fairy  play  by  Ostrovsky, 
was  composed  in  1880-81  and  produced  at  Petrograd  in  March,  1882.  It 
was  Rimsky-Korsakow’s  third  work  for  the  stage.  (Ostrovsky’s  piece,  with  in¬ 
cidental  music  by  Tschaikowsky,  had  been  given  at  Moscow  nine  years  before.) 
Snegourotchka  was  produced  at  the  Metropolitan  Opera  House,  New  York, 
January  23,  1922. 

The  action  of  Rimsky-Korsakow’s  conte  de  print emps  passes  in  the  country 
of  the  Berendeys,  in  prehistoric  times,  and  it  tells  the  sorrowful  tale  of  the 
Snow  Maiden,  the  child  of  King  Frost  and  Fairy  Spring,  who,  ignoring  the 
excellent  advice  of  her  parents,  resolves  to  leave  the  security  of  her  woodland 
environment  and  seek  the  dubious  company  of  mortals.  She  does  so,  and  is 
charmed  by  the  piping  of  the  shepherd  Lei,  but  he  is  cold  to  her.  A  Tatar 
merchant,  Mizguir,  succumbs  to  the  Snow  Maiden’s  charms,  and  deserts 
Kupava,  his  betrothed.  Snegourotchka,  seeing  that  Lei  has  become  attached 
to  Kupava,  tries  to  intervene,  and  beseeches  her  mother  to  give  her  the  power 
of  human  love.  This  mad  wish  is  granted,  and  Snegourotchka  now  yearns  to¬ 
ward  Mizguir,  whereupon  the  spring  sun  burns  down  on  the  imprudent  damsel 
and  melts  her  like  any  other  snowflake. 

The  first  scene  of  the  third  act  is  a  popular  festival  in  the  sacred  wood, 
watched  by  the  Tzar  and  his  suite.  There  are  dances  of  young  men  and  young 
maidens;  and  then  the  Tzar  commands  the  buffoons  to  dance  and  do  their 
tricks.  It  is  the  music  of  this  dance  that  is  performed  at  the  present  concert. 

— Lawrence  Gilman. 


THE  MUSIC  FESTIVAL  IS  PRESENTED 
UNDER  THE  AUSPICES  OF  THE 
CIVIC  MUSIC  COMMISSION 


Clement  Manly,  Chairman 
Mrs.  J.  Edward  Johnston 
Mrs.  Thos.  Maslin 
Howard  E.  Rondthaler 
Henry  Dwire 
H.  E.  Fries 
R.  H.  Latham 
Jas.  G.  Hanes,  Ex-officio 


ORGANIZATIONS  PARTICIPATING 
IN  THE  FESTIVAL 

PHILADELPHIA  FESTIVAL  ORCHESTRA 

Dr.  Thaddeus  Rich,  Conductor 

WINSTON-SALEM  FESTIVAL  CHORUS 
CHILDREN’S  CHORUS 
William  Breach,  Director 

WINSTON-SALEM  CIVIC  ORCHESTRA 
C.  D.  Kutschinski,  Conductor 
Estelle  Broberg  Breach,  Festival  Accompanist 

SOLOISTS 

Mme.  Florence  Easton,  Soprano 
Shura  Cherkassky,  Pianist 
Edwin  R.  Clapp,  Baritone 


BARBER  PRINTING  CO. 


WINSTON-SALEM 


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